https://exchange.prx.org/p/591684
This week the emphasis is on the years 1966 and 1967, with multiple sets from both years. We also have a Jimi Hendrix set and a few surprises in store.
Artist: Turtles
Title: It Ain't Me Babe
Source: Nuggets Vol. 10-Folk Rock (originally released as 45 RPM single)
Writer: Bob Dylan
Label: Rhino (original label: White Whale)
Year: 1965
The Turtles started out as a local high school surf band called the Crossfires. In 1965 they were signed to a record label that technically didn't exist yet. That did not deter the people at the label (which would come to be known as White Whale) from convincing the band to change its name and direction. Realizing that surf music was indeed on the way out, the band, now called the Turtles, went into the studio and recorded four songs. One of those was Bob Dylan's It Ain't Me Babe. The Byrds had just scored big with their version of Dylan's Mr. Tambourine Man and the Turtles took a similar approach with It Ain't Me Babe. The song was a solid hit, going to the #8 spot on the national charts and leading to the first of many Turtles albums (not to mention hit singles) on the White Whale label.
Artist: Knickerbockers
Title: One Track Mind
Source: Mono CD: Even More Nuggets (originally released as 45 RPM single)
Writer: Linda & Keith Colley
Label: Rhino (original label: Challenge)
Year: 1966
After successfully fooling many people into thinking that they were the Beatles recording under a different name with their 1965 hit Lies, the Knickerbockers (originally from Bergenfield, New Jersey) went with a more R&B flavored rocker for their follow up single. Unfortunately their label, the Los Angeles-based Challenge Records, did not have the resources and/or skills to properly promote the single.
Artist: Moby Grape
Title: Hey Grandma
Source: 45 RPM single
Writer(s): Miller/Stevenson
Label: Columbia
Year: 1967
One of the most talked-about albums to come from the San Francisco music scene in 1967 was Moby Grape's debut album. Unfortunately a lot of that talk was from Columbia Records itself, which resulted in the band getting a reputation for being overly hyped, much to the detriment of the band's future efforts. Still, that first album did have some outstanding tracks, including Hey Grandma, which was one of five singles released simultaneously by Columbia as part of their over-hyping of the band.
Artist: 13th Floor Elevators
Title: Slip Inside This House
Source: British import CD: Easter Everywhere
Writer(s): Hall/Erickson
Label: Charly (original US label: International Artists)
Year: 1967
The 13th Floor Elevators returned from their only California tour in time to celebrate Christmas of 1966 in their native Texas. Not long after that things began to fall apart for the band. Much of this can be attributed to bad management, but at least some of the problems were internal in nature. Lead guitarist Stacy Southerland was caught with marijuana in the trunk of his car, thus causing his probation to be revoked, which in turn meant he was not allowed to leave the Lone Star state. This in turn caused the entire rhythm section to head off for San Francisco, leaving Southerland, along with electric juggest Tommy Hall and vocalist Roky Erickson, to find replacement members in time to start work on the band's second album, Easter Everywhere. Despite this, the album itself came out remarkably well, and is now considered a high point of the psychedelic era. Unlike the first 13th Floor Elevators album, Easter Everywhere was designed to be a primarily spiritual work. Nowhere is this more evident than on the album's opening track, the eight-minute epic Slip Inside This House. Written primarily by Hall, Slip Inside This House was intended to "establish the syncretic concepts behind Western and Eastern religions, science and mysticism, and consolidate them into one body of work that would help redefine the divine essence". While whether he succeeded or not is a matter of opinion, the track itself is certainly worth hearing for yourself. Enjoy.
Artist: Beatles
Title: I Am The Walrus
Source: 45 RPM single B side
Writer(s): Lennon/McCartney
Label: Capitol
Year: 1967
There were actually three different versions of the Beatles' I Am The Walrus released in late 1967, all of which were made from the same basic master tape. The first (heard here) was a mono single version that was issued as the B side of the Hello Goodbye single in late November. This version features a four-beat intro and has an extra bar of music immediately preceding the words "yellow matter custard" in the middle of the song. The second version was the stereo version featured on the US-only Magical Mystery Tour album. This version is basically the same as the mono version, but does not contain the extra bar in the middle. The third version appeared in early December in Europe and the UK on the stereo version of the Magical Mystery Tour soundtrack EP. This version features a six beat intro, but is otherwise identical to the US stereo version. In the early 1980s engineers at Capitol Records created a fourth version of I Am The Walrus that uses the six beat intro from the UK stereo version and includes the extra bar in the middle of the song from the US single version. That fourth version was included on the US version of the Beatles' Rarities album.
Artist: Nitty Gritty Dirt Band
Title: I'll Search The Sky
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Ricochet)
Writer(s): David Hanna
Label: Rhino (original label: Liberty)
Year: 1967
The Nitty Gritty Dirt Band released two albums in 1967, about four to five months apart. Part of the reason for this may have been that their label, Liberty Records, was finding it difficult to get any of their releases to show up on the Billboard album charts; in fact, the first Dirt Band album was one of only two LPs on the label to accomplish that feat that year. The second LP by the group, Ricochet, was not able to duplicate the success of the first one, however, despite fine tracks like I'll Search The Sky and the band was in danger of fading off into obscurity by the end of the year. The group persisted, however, and eventually hit it big with their version of Jerry Jeff Walker's Mr. Bojangles. The band continued to gravitate toward country music over the next decade, eventually emerging as one of the top country acts of the 1980s.
Artist: Small Faces
Title: Itchycoo Park
Source: British import 45 RPM single
Writer(s): Marriott/Lane
Label: Immediate
Year: 1967
Led by Steve Marriott and Ronnie Lane, the Small Faces got their name from the fact that all the members of the band were somewhat vertically challenged. The group was quite popular with the London mod crowd, and was sometimes referred to as the East End's answer to the Who. Although quite successful in the UK, the group only managed to score one hit in the US, the iconic Itchycoo Park, which was released in late 1967. Following the departure of Marriott the group shortened their name to Faces, and recruited a new lead vocalist named Rod Stewart. Needless to say, the new version of the band did much better in the US than their previous incarnation.
Artist: Balloon Farm
Title: A Question Of Temperature
Source: Mono British import CD: Ah Feel Like Ahcid (originally released as 45 RPM single)
Writer(s): Appel/Schnug/Henny
Label: Zonophone (original label: Laurie)
Year: 1967
Few, if any, bands managed to successfully cross bubble gum and punk like the New York based Balloon Farm with A Question Of Temperature, originally released on the Laurie label in 1967. Band member Mike Appel went on to greater notoriety as Bruce Springsteen's first manager.
Artist: Lovin' Spoonful
Title: Daydream
Source: British import CD: Peace & Love-The Woodstock Generation (originally released as 45 RPM single)
Writer(s): John Sebastian
Label: Warner Strategic Marketing (original US label: Kama Sutra)
Year: 1966
One of the most popular songs of 1966 was Daydream by the Lovin' Spoonful. Like many of the songs on the Hums of the Lovin' Spoonful album, Daydream is a departure from the style of the band's early singles such as Do You Believe In Magic. It's also one of the few songs with whistling in it to hit the number one spot on the charts.
Artist: Easybeats
Title: Friday On My Mind
Source: CD: Nuggets-Classics From The Psychedelic 60s (originally released as 45 RPM single)
Writer(s): Vanda/Young
Label: Rhino (original label: United Artists)
Year: 1966
Considered by many to be the "greatest Australian song" ever (despite the fact that it was actually recorded in London), the Easybeats' Friday On My Mind, released in late 1966, certainly was the first major international hit to emerge from a band on the island continent. Following the dissolution of the Easybeats in 1970 guitarists Harry Vanda and George Young would continue to work together, recording as Flash And The Pan from 1976-1992 as well as producing the first six albums by another Australian band featuring Young's two younger brothers, Angus and Malcolm. That band? AC/DC.
Artist: Troggs
Title: I Can't Control Myself
Source: 45 RPM single
Writer(s): Reg Presley
Label: Fontana
Year: 1966
The Troggs hit the British music scene in a big way in 1966, with the international smash Wild Thing. They followed it up with a string of top 10 singles, including the controversial I Can't Control Myself. In the US, the song was released by two competing labels (apparently due to confusion caused by the Troggs switching labels in the UK), Fontana (which had released Wild Thing) and Atco. The song was promptly banned on many stations on both sides of the Atlantic for its suggestive lyrics, which probably increased the band's popularity.
Artist: Merry-Go-Round
Title: You're A Very Lovely Woman (originally released on LP: The Merry-Go-Round)
Source: CD: More Nuggets
Writer: Emmit Rhodes
Label: Rhino (original label: A&M)
Year: 1967
Emitt Rhodes first got noticed in his mid-teens as the drummer for the Palace Guard, a Beatles-influenced L.A. band that had a minor hit with the song Like Falling Sugar in 1966. Rhodes would soon leave the Guard to front his own band, the Merry-Go-Round, scoring one of the most popular regional hits in L.A. history with the song Live, the lead track from the Merry-Go-Round's 1967 self-titled LP. In 1969 Rhodes decided to try his hand as a solo artist. The problem was that he was, as a member of the Merry-Go-Round, contractually obligated to record one more album for A&M. The album itself, featuring a mixture of recycled Merry-Go-Round tracks such as You're A Very Lovely Woman, along with a few Rhodes solo tunes, sat on the shelf for two years until Rhodes had released a pair of well-received LPs for his new label, at which time A&M finally issued The American Dream as an Emitt Rhodes album.
Artist: Circus Maximus
Title: Wind
Source: CD: Circus Maximus
Writer(s): Bob Bruno
Label: Vanguard
Year: 1967
Circus Maximus was formed out of the chance meeting of multi-instrumentalist Bob Bruno and guitarist Jerry Jeff Walker in Greenwich Village in 1967. From the start the band was moving in different directions, with Bruno incorporating jazz elements into the band while Walker favored country-rock. Eventually the two would go their separate ways, but for the short time the band was together they made some of the best, if not best-known, psychedelic music on the East Coast. The band's most popular track was Wind, a Bruno tune from their debut album. The song got a considerable amount of airplay on the new "underground" radio stations that were popping up across the country at the time.
Artist: Pink Floyd
Title: Matilda Mother
Source: LP: A Nice Pair (originally released on LP: The Piper At The Gates Of Dawn)
Writer(s): Syd Barrett
Label: Harvest (original label: Tower)
Year: 1967
Listening to tracks like Matilda Mother, I can't help but wonder where Pink Floyd might have gone if Syd Barrett had not succumbed to mental illness following the release of the band's first LP, The Piper At The Gates Of Dawn, in 1967. Unlike the rest of the band members, Barrett had the ability to write songs that were not only adventurous, but commercially viable as singles as well. After Barrett's departure, it took the group several years to become commercially successful on their own terms (although they obviously did). We'll never know what they may have done in the intervening years were Barrett still at the helm.
Artist: Simon Dupree And The Big Sound
Title: Kites
Source: British import CD: Psychedelia At Abbey Road-1965-1969 (originally released as 45 RPM single)
Writer(s): Pockriss/Hackaday
Label: EMI (original label: Parlophone)
Year: 1967
Almost all of the British beat bands of the 1960s played R&B covers in their early days. Most, like the Animals and Rolling Stones, covered blues artists like John Lee Hooker or early rock and rollers like Chuck Berry. Simon Dupree And The Big Sound, however, saw themselves more as a "soul" band in the image of such American artists as Wilson Pickett and Otis Redding. Led by the Shulman brothers (Derek, Ray and Phil), the band was formed in early 1966 and was soon signed to EMI's Parlophone label. After their first few singles failed to chart, the band's label and management convinced them to record the more psychedelic-sounding Kites. Although the band hated the record, it ended up being their only top 10 single in the UK, and after subsequent records went nowhere, the group, finally realizing that they were not destined to hit the big time as a blue-eyed soul band, disbanded in 1969. The Shulman brothers, however, did achieve success in the 1970s with their new band Gentle Giant, which was about as far removed from blue-eyed soul as you can get.
Artist: Knaves
Title: Leave Me Alone
Source: Mono CD: Oh Yeah! The Best Of Dunwich Records (originally released as 45 RPM single)
Writer(s): Berkman/Hulbert
Label: Sundazed (original labels: Glen/Dunwich)
Year: 1966
The Knaves, Howard Berkman, John Hulbert, Mark Feldman, Neil Pollack, and Gene Lubin, came from the northern suburbs of Chicago, and were one of the last bands to record for the Dunwich label before it converted itself to a production company. Unlike the label's most famous band, the Shadows Of Knight, the Knaves had actually released their first single, Leave Me Alone, on the tiny Glen label in 1966, with Dunwich reissuing it the following year. The song itself has a strong anti-establishment sentiment that would be echoed by countless punk-rock bands a decade later, and became a top 5 hit in Chicago thanks to heavy airplay on WCFL, one of the city's two major top 40 stations. Unfortunately the band had difficulty lining up paying gigs and disbanded in 1967.
Artist: Jimi Hendrix Experience (II)
Title: Angel
Source: LP: The Cry Of Love
Writer(s): Jimi Hendrix
Label: Legacy (original label: Reprise)
Year: 1970
Shortly after the untimely death of Jimi Hendrix in September of 1970, Reprise released the first of many posthumous Hendrix albums, The Cry Of Love. Like millions of other Hendrix fans, I immediately went out and bought a copy. I have to say that there are very few songs that have ever brought tears to my eyes, and even fewer that did so on my very first time hearing them. Of these, Angel, featuring Mitch Mitchell on drums and Billy Cox on bass, tops the list.
Artist: Jimi Hendrix Experience
Title: If 6 Was 9
Source: CD: Axis: Bold As Love
Writer(s): Jimi Hendrix
Label: Experience Hendrix/Legacy (original label: Reprise)
Year: 1967
Before 1967 stereo was little more than an excuse to charge a dollar more for an LP. That all changed in a hurry, as artists such as Jimi Hendrix began to explore the possibilities of the technology, in essence treating stereophonic sound as a multi-dimensional sonic palette. The result can be heard on songs such as If 6 Were 9 from the Axis: Bold As Love album, which is best listened to at high volume, preferably with headphones on.
Artist: Jimi Hendrix
Title: Belly Button Window
Source: LP: The Cry Of Love
Writer(s): Jimi Hendrix
Label: Experience Hendrix/Legacy (original label: Reprise)
Year: 1971
Following the death of Jimi Hendrix, Reprise Records got to work compiling tracks for The Cry Of Love, the first of many posthumous Hendrix albums released by the label. The final track on the LP was an unfinished piece called Belly Button Window that featured Hendrix on vocals and electric guitar, with no other musicians appearing on the track. In the late 1990s the Hendrix family released a CD called First Rays Of The New Rising Sun that was based on Hendrix's own plans for a double-length album that he was working on at the time of his death. First Rays Of The New Rising Sun ends with the same bare bones recording of Belly Button Window that was used on The Cry Of Love.
Artist: Blues Magoos
Title: Love Seems Doomed
Source: CD: Kaleidoscopic Compendium (originally released on LP: Psychedelic Lollipop)
Writer(s): Gilbert/Scala/Esposito
Label: Mercury
Year: 1966
Unlike most of the tracks on the Blues Magoos' 1966 Debut LP, Psychedelic Lollipop, Love Seems Doomed is a slow, moody piece with a message. Along with the Paul Revere and the Raiders hit Kicks from earlier that year, Love Seems Doomed is one of the first songs by a rock band to carry a decidedly anti-drug message. While Kicks warned of the addictive qualities of drugs (particularly the need for larger doses of a drug to achieve the same effect over time), Love Seems Doomed focused more on how addiction affects the user's relationships, particularly those of a romantic nature. Love Seems Doomed is also a more subtle song than Kicks (which tends to hit the listener over the head with its message).
Artist: Jake Holmes
Title: Dazed And Confused
Source: LP: Nuggets vol. 10-Folk Rock (originally released on LP: The Above Ground Sound Of Jake Holmes)
Writer(s): Jake Holmes
Label: Rhino (original label: Tower)
Year: 1967
On Auguest 5th, 1967 a little known singer/songwriter named Jake Holmes opened for the Yardbirds for a gig in New York City, performing songs from his debut LP The Above Ground Sound Of Jake Holmes, including a rather creepy sounding tune called Dazed And Confused. Yardbirds drummer Jim McCarty, who was in the audience for Holmes's set, went out and bought a copy of the album the next day. Soon after that the Yardbirds began performing their own modified version of Dazed And Confused. Tower Records, perhaps looking to take advantage of the Yardbirds popularization of the tune, released Holmes's version of Dazed And Confused as a single in January of 1968. Meanwhile, the Yardbirds split up, with guitarist Jimmy Page forming a new band called Led Zeppelin. One of the songs Led Zeppelin included on their 1969 debut LP was yet another new arrangement of Dazed And Confused, with new lyrics provided by Page and singer Robert Plant. This version was credited entirely to Page. Holmes himself, not being a fan of British blues-rock, was not aware of any of this at first, and then let things slide until 2010, when he finally filed a copyright infringement lawsuit. The matter was ultimately settled out of court, and all copies of the first Led Zeppelin album made from 2014 on include "inspired by Jake Holmes" in the credits.
Artist: Jethro Tull
Title: Dharma For One
Source: LP: This Was
Writer: Anderson/Bunker
Label: Chrysalis
Year: 1968
By 1968 it was almost considered mandatory that a rock band would include a drum solo on at least one album, thanks to Ginger Baker's Toad (on Cream's Wheels Of Fire) and Iron Butterfly's In-A-Gadda-Da-Vida. Jethro Tull's contribution to the trend was Dharma For One, the only Tull song to give a writing credit to drummer Clive Bunker. Compared to most drum solos of the time, Bunker's is fairly short (less than two minutes) and somewhat quirky, almost resembling a Spike Jones recording in places.
Artist: Norman Greenbaum
Title: Jubilee
Source: LP: The Big Ball (originally released on LP: Spirit In The Sky)
Writer(s): Norman Greenbaum
Label: Warner Brothers (original label: Reprise)
Year: 1969
Norman Greenbaum is most famous for the song Spirit In The Sky, which was a huge international hit in 1970 following it's December 1969 release as a single. Spirit In The Sky was not, however, the first single released from the album of the same name. In fact, two songs from the album were released before the album itself. The second of these, Jubilee, was chosen to be included on the Warner Brothers Loss Leaders LP The Big Ball. Sounds like it's party time to me.
Artist: Grass Roots
Title: Mr. Jones (A Ballad Of A Thin Man)
Source: Mono CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Writer(s): Bob Dylan
Label: Rhino (original label: Dunhill)
Year: 1965
In late 1965 songwriters/producers P.F. Sloan (Eve of Destruction) and Steve Barri decided to create a series of records by a band called the Grass Roots. The problem was that the existing L.A. band calling itself the Grass Roots had no interest in recording for Sloan and Barri. Angered by being treated rudely by one of the band members, Sloan and Barri did a little research and came to the realization that the existing Grass Roots had not legally copyrighted the name, so Sloan and Barri did so themselves and then found another band to record as the Grass Roots. This of course forced the existing band to come up with a new name, but that's a story for another time. Meanwhile, the band Sloan and Barri recruited was the Bedouins, one of the early San Francisco bands. As the rush to sign SF bands was still months away, the Bedouins were more than happy to record the songs Sloan and Barri picked out for them. The first single by the newly-named Grass Roots was a cover of Bob Dylan's Mr. Jones (A Ballad Of A Thin Man). The band soon got to work promoting the single to Southern California radio stations, but with both the Byrds and the Turtles already on the charts with Dylan covers it soon became obvious that the market was becoming saturated with folk-rock. After a period of months the band, who wanted more freedom to write and record their own material, had a falling out with Sloan and Barri and it wasn't long before they moved back to San Francisco, leaving drummer Joel Larson in L.A. The group, with another drummer, continued to perform as the Grass Roots until Dunhill Records ordered them to stop. Eventually Dunhill would hire a local L.A. band called the 13th Floor (not to be confused with Austin, Texas's 13th Floor Elevators) to be the final incarnation of the Grass Roots; that group would crank out a series of top 40 hits in the early 70s. The Bedouins never had the opportunity to record again.
Artist: Rainy Daze
Title: That Acapulco Gold
Source: Mono LP: 21 KIMN Classics (originally released as 45 RPM single)
Writer(s): Gilbert/Carter
Label: Take 6 (original label: Chicory)
Year: 1967
Formed in Denver, Colorado in 1965, the Rainy Daze are best known for two things: the first was a single called That Acapulco Gold that stalled out at the #70 spot on the Hot !00 when certain influential people realized it was a pro-marijuana song; the second is for being the origin of the songwriting team of Tim Gilbert and John Carter, who co-wrote all but one of the band's original compositions (although Carter was not a member of the band itself) and then went on to write for other bands such as the Strawberry Alarm Clock (they were the credited writers of Incense And Peppermints, although it is now known that they only wrote the lyrics to that monster hit). That Acapulco Gold was first released on the Chicory label and promoted in the Denver area on KIMN, the city's dominant top 40 station, in late 1966. The song was picked up by MCA's Uni label and released nationally in January of 1967.
Artist: Doors
Title: Strange Days
Source: CD: Strange Days
Writer(s): The Doors
Label: Elektra/Rhino
Year: 1967
One of the first rock albums to not picture the band members on the front cover was the Doors' second LP, Strange Days. Instead, the cover featured several circus performers doing various tricks on a city street, with the band's logo appearing on a poster on the wall of a building. The album itself contains some of the Doors' most memorable tracks, including the title song, which also appears on their greatest hits album despite never being released as a single.
Artist: Rolling Stones
Title: Sympathy For The Devil
Source: LP: Beggar's Banquet
Writer(s): Jagger/Richards
Label: London
Year: 1968
When I was a teenager I would occasionally hear some adult make a comment about how rock and roll was the "Devil's music." This only got more ridiculous in 1968, when the Rolling Stones released Sympathy For The Devil as the opening track on their Beggar's Banquet album. Mick Jagger, who wrote the lyrics, was actually somewhat mystified by such reactions, as it was, after all, only one song on an album that also included such tunes as Prodigal Son (based on a Bible story) and Salt Of The Earth, a celebration of the common man. There is no doubting, however, that Sympathy For The Devil itself is a classic, and has been a staple of the band's live sets since the late 1980s.
Artist: Cream
Title: I Feel Free
Source: CD: Fresh Cream
Writer(s): Bruce/Brown
Label: Polydor/Polygram (original label: Atco)
Year: 1966
The first single released by Cream was I Feel Free. As was the case with nearly every British single at the time, the song was not included on Fresh Cream, the band's debut LP. In the US, however, singles were commonly given a prominent place on albums, and the US version of Fresh Cream actually opens with I Feel Free. To my knowledge the song, being basically a studio creation, was never performed live.
Artist: Luv'd Ones
Title: Dance Kid Dance
Source: Mono CD: Truth Gotta Stand (originally released as 45 RPM single)
Writer(s): Char Vinnedge
Label: Beat Rocket (original label: Dunwich)
Year: 1966
In 1963, 20-year-old Char Vinnedge of Niles, Michigan, who had been playing piano since the age of four, helped her brother pick out an Airline guitar from Montgomery Ward. It soon became apparent that he was never going to learn to the play the thing, however, and Char ended up buying it from him. She soon found that she had an affinity for the instrument, and by 1964 had recruited her younger sister Faith (who chose to play bass because that was what Paul McCartney played), along with drummer Faith Orem and rhythm guitarist Terry Barber, to form a group called the Tremelons. Barber soon left the group, to be replaced by Mary Gallagher, and in 1966 the band was signed to Chicago's Dunwich Records, changing their name to the Luv'd Ones at the suggestion of label owner Bill Traut. They ended up releasing three singles for Dunwich that year, the last of which was the antiwar song Dance Kid Dance. After the Luv'd Ones disbanded, Vinnedge spent the next few years studying and deconstructing the music of Jimi Hendrix, eventually coming to the attention of bassist Billy Cox and recording an album called Nitro Function with him in 1971 that for some reason was only released in Europe.
Artist: Haunted
Title: 1-2-5
Source: Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in Canada on LP: The Haunted)
Writer(s): Burgess/Peter
Label: Rhino (original label: Quality)
Year: 1966
Formed in Montreal in 1964, the Haunted was one of the most popular bands in the Canadian province of Quebec, as well as Southern Ontario. In January of 1966 the band won an eight-hour long battle of the bands, resulting in a contract with Quality Records. The Haunted's first single was a song called 1-2-5, which the label refused to release due to the song's subject matter (a liason with a prostitute). Undaunted, the band changed a few lyrics, substituting lines like "a roomful of clowns" and "a line of executives" for the original references to working girls and re-recorded the song. The label, being somewhat clueless, released the song in its new form, but messed up the band's name on the label, calling them the Hunted. Finally, the band changed labels, issuing the song as an album track on Trans World Records in 1967.
Artist: Hi-Fis
Title: Tread Softly For The Sleepers
Source: CD: Love, Poetry And Revolution (originally released in Germany as 45 RPM single B side)
Writer(s): Bennett/Douglas
Label: Grapefruit (original label: Star-Club)
Year: 1967
The Hi-Fis' recording career started in 1963 with the first of four singles released in the UK. After a lineup change the band accepted a six-week booking on the Swiss/German border that turned into a two-year stay in Germany. During that time they recorded three more singles, including the B side Tread Softly For The Sleepers, as well as a well-received LP for the German Star-Club label.
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